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Idk whether to call it a pluck or pad of sorts or what, but it's the synth that starts with the drums, and I can't figure out how to make it other than using a low pass and reverb.

I think its just a 16th note arp of some plucky saw+square waves. Detune the oscs a little. No attack or sustain. Small decay and even smaller release. Play with decay and release till you get the plucky sound. Low pass a bit and tweak the filter envelope to help it sound more plucky. But I think they resampled the arp and tweaked it a little to give it a little life cause i think i can hear some reversed arps in it.

Unless you're talking about the reversed pad which starts later. In that case you just need to resample a synth pad and reverse it. It sounds like a couple detuned oscs again

mtl6 is spot on, its a simple arp pluck and there's lots of sound design tuts out there to show you how to make one. The important part though is Adventure Clubs use of automation on the volume level, Re-verb, and Filter. Pushing and pulling the arp fading it in and out during the musical phrase etc

While we're on the topic of this track I have 2 questions...

1. How would you replicate the ghostly vocal that starts at 1:11 and 1:14 during the drop? (could be the word "I" reversed)
2. Do they use a noise gate to stutter the drop synths or is there some other method?

Mike Renai wrote:Do they use a noise gate to stutter the drop synths or is there some other method?

I would say that they threw a square wave lfo over the volume/lpf of the bass kind of like how Skism did in Red Heat, but I could be wrong.

Mike Renai wrote:While we're on the topic of this track I have 2 questions...

1. How would you replicate the ghostly vocal that starts at 1:11 and 1:14 during the drop? (could be the word "I" reversed)
2. Do they use a noise gate to stutter the drop synths or is there some other method?

1. Definitely is the word "I" reversed. Try recording someone. Also use some reverb and filtering.
2. Sounds like a ramp LFO with a modulated synced rate.

Mike Renai wrote:While we're on the topic of this track I have 2 questions...

1. How would you replicate the ghostly vocal that starts at 1:11 and 1:14 during the drop? (could be the word "I" reversed)
2. Do they use a noise gate to stutter the drop synths or is there some other method?

1. The word I ran through about 1,5 second reverb, 100% wet, then reverse this and time it up with the end of desired bars, so the effect is that they 'pull' into the next part.
2. They most definetely used volume automation with an lfo (ramp shaped), and later in the song the same on a cutoff on a low pass filter. (The effect can be heard better during this part)

The original question in this thread has already been answered, detuned saw/square waves with an envelope on the cutoff of a lp filter.

blinkesko wrote:
1. The word I ran through about 1,5 second reverb, 100% wet, then reverse this and time it up with the end of desired bars, so the effect is that they 'pull' into the next part.
2. They most definetely used volume automation with an lfo (ramp shaped), and later in the song the same on a cutoff on a low pass filter. (The effect can be heard better during this part)

The original question in this thread has already been answered, detuned saw/square waves with an envelope on the cutoff of a lp filter.

I've got my eyes on you. Thanks for the information. Sound design hates my soul right now.

GangstaFish wrote:
I've got my eyes on you.

That's not creepy at all as I'm taking a dump right now in a bathroom with no windows D:

blinkesko wrote:

GangstaFish wrote:
I've got my eyes on you.

That's not creepy at all as I'm taking a dump right now in a bathroom with no windows D: